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Synco Martin Audio Rigs Don Black Tie at Henley Festival
RG Jones continued its long relationship with one of THE high society events of the English summer season, the Henley Festival. The company's involvement with the black tie event, which takes place on the banks of the Thames, dates back to 1986; once again they fielded a full Synco Martin Audio production rig - that took care of the very different requirements of the three prime stages - as well as a zonal, site-wide paging infrastructure, incorporated into the artistic lighting structures, to safeguard security and evacuation.
Synco Martin Audio W8LC's and W8LM's formed the principal sound reinforcement on the Floating Stage and in the Club Marquee, while in the more strident, rock-oriented Dome, a vintage Martin Audio Wavefront 8 system delivered a mighty SPL.
As festivals go Henley is unique as it combines arts with all forms of music and is targeted at an extremely upmarket clientele. As a production spectacle it is also one of a kind, but having the main stage actually situated on the River Thames presents its own problems in view of the extreme width and short throw distance. There is also the ambient sound generated by a non stop flotilla of revellers on the Thames itself to contend with - but RG Jones were equal to the task.
On the Floating Stage the company rigged two stacks of six Synco Martin Audio W8LC enclosures per side on top of Martin Audio WLX subs. Outfills provided width of coverage along the river bank, while W8LM Mini Line Arrays on wheels were used as infills as required. Additionally there were four Martin Audio W8LD's used as stand-alone front fills across the stage and a Martin Audio W8VDQ as a flown centre speaker.
"We tried to keep the sound natural and evenly dispersed across the centre, and I think we got it right," said Simon Honywill. "But it's very difficult because the PA is so close to the audience, the stage is low and we're next to a tow path."
The system also has to be set up to optimise orchestral reinforcement - this year the star attraction was Katherine Jenkins and the City of Birmingham Symphony Orchestra - as well as the Bootleg Beatles. It also included the customary avant garde highlight, highly dynamic percussion troupe The Noise Ensemble.
Over in Club Marquee - where the entertainment ranged fro comedy to cabaret burlesque - the stage was reinforced with five Synco Martin Audio Mini Line Array (W8LM) enclosures ground-stacked on risers, with WLX subs underneath to add the low-frequency extension; delays were set around the outside of the tent - which was essential according to Simon Honywill. Club Marquee sound engineer Richard Sharratt was said to be delighted with the performance of the Mini Line Array - especially since he used a two-way feed to the PA, and the separate control of the tops gave him the additional throw over the crowd to the back of the tent.
Finally, Steve Carr superintended events in The Dome with a no-nonsense Left/Right PA, consisting of two four-way Martin Audio W8's supplemented by a pair of WS218X Martin Audio subs.
"It was really rocking in there and we achieved everything we needed to," said Steve Carr. He added that these were just three of seven Festival areas for which RG Jones provided sound reinforcement - including the interview tent and the Roux restaurant, where a zoned system could be configured for dinner background music or a more potent mix on the dance floor.
In picture: on stage - the Bootleg Beatles photo: Tim Speight
3rd August 2009
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